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viewing 1 To 12 of 12 items
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WHO 020CD
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At A Moment's Notice compiles three tracks of instantaneously formed music from an artist whose work typically involves carefully sequenced and layered integration rather than real-time spontaneity. After two individual sets performed by improv duo .es and electronic composer Stefan Goldmann at Nomart Gallery of Osaka, Japan, the event's curator invited the three musicians to play together -- an announcement made in front of the audience, without prior notice and with seconds to go... Goldmann met this challenge by loading a set of samples from an earlier release on The Tapeworm, Haven't I Seen You Before, and firing them off through a delay unit while shifting time and pitch settings, creating a three-way conversation with Sara Dotes on piano and percussion and Takayuki Hashimoto on alto saxophone, shakuhachi, guitar and harmonica. "Echoes Of An Era" is a previously unreleased piece based on guitar improvisation channeled by a long-form looping device, originally recorded during the sessions for Haven't I Seen You Before. By contrast, the recording from the Tapeworm label's tenth anniversary at Cafe Oto employs a rich base of prepared layers, whose temporal structure is constructed on the spot and performed without the aid of a premeditated temporal grid. Edition of 300.
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12"
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WHO 015EP
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What is Mind Control? Making people believe by shaping what they hear; a sonata for the age of acceleration morphosis; a music born under punches. Play at any required speed. Cristian Vogel is a life-long innovator in the design, composition and performance of electronic sounds. His independent career in music and audio technology has won prizes and awards establishing him as an outstanding influence in the field of composition for studio, club culture and stage. He performs, remixes and produces original music and sound design at an international level. He has lived in Brighton, Barcelona, Berlin and Geneva and is now permanently based in Copenhagen where he continues creating technologically based music, sound and audio technology at his design studios Ekometic and NeverEngineLabs. Artwork: Federico Gargaglione. Limited edition of 250.
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WHO 019CD
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Compiled by Ken Hollings, Clear Your Screens is a series of battle re-enactments from Manchester's least celebrated post-punk group Biting Tongues. Their tritone tribalism, mixed with intense language flow and layers of tape concrète, was perhaps a bit too much for the early 1980s when they released records with New Hormones, Factory, and Beggars Banquet. Always an astonishing experience live, the classic early line-up returned to the stage near the start of the 21st century with the musical and performance experience accumulated over another twenty years working apart. Applying modern digital mixing techniques ten years later to these live recordings reveals the rare blood chemistry of a team of specialists who have only grown more passionate over time. Surely a worthy part the 20th century musical canon even if they have handed in their homework late. All songs written by Hollings, Graham Massey, Colin Seddon, Eddie Sherwood, and Howard Walmsley. Tapes remixed and produced by Graham Massey. Limited edition of 250. Mastered by Stephan Mathieu.
Biting Tongues were: Ken Hollings - celebrated author, academic and broadcaster #exorcist #cut_up_oracle; Graham Massey - electronic music pioneer, 808 State, music producer and broadcaster #pre_and_post_guitar_landscapes #weird_woodwind #shit_trumpet; Colin Seddon - band leader and music educator #biblical_bass lines #lord_of_the_trichord; Howard Walmsley - film director/producer #muscular_beef_sax #transistor_organ_fist; Eddie Sherwood - music educator and band leader #reverse-wired-bespoke_voodoo_drumming.
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WHO 018CD
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"Those wonderful people at The Wormhole recently got in touch and invited me to send them a CD album. So, I had a bit of a think and then rummaged around in the studio and laboratory where I found a bunch of stuff done with cheap old ROMplers and my maniac cellular automata sequencer. After sifting through a few sessions, I selected a variety of tracks and put them together for this release. For process-inquisitive types, the generative composition techniques with cellular automata used various MIDI events including => note, velocity, mono / poly aftertouch, pitch bend, mod wheel, continuous controllers and various custom system exclusive encodings to change microtuning tables and various synth patch parameters. Sequences were generated and manipulated live at the sequencer interface and recorded direct to hard disc." --David Burraston, New South Wales, April, 11 2020. Recorded at Noyzelab, 2016-2018. Edition of 250.
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WHO 013CD
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"Hit record and mixed tracks from 2017-2018. Turns out I made an album, by mistake. old school BM guitar-&-drum machine, a Linn-Drum and a Fred Moten sample, Serge drone, FM synth kicks and a YMO interview and a robot, 'shut up and listen to him play', 808 acid funk, 280bpm Gescom memories, a taiko ramen break rounded and a just intonation poem -- abc, the whole alphabet: performance from within fugitive study. I like to enjoy myself." --Simon Pomery, London, 28 December 2018
Blood Music is Simon Pomery: London-based, Irish-born producer, musician and maker of the "infinity-poem". The name Blood Music is one English translation of the Japanese word "Kodo": "mind-before-thought", "children of the drum", "music heard in the womb", or rather, "blood music". He has two 12-inches on Diagonal Records -- Blood Music EP" (2013), and Chicks/Badgering (DIAG 022EP, 2015) -- digis on dingn\dents and self-released works. GPS Poetics is influenced by Pomery's research into poetics and ethics: Fred Moten's writings on poetry and improvisation from In the Break: The Aesthetics of the Black Radical Tradition (2003), Joan Retallack on Gertrude Stein, John Cage and aleatoric composition in "The Poethical Wager", and Édouard Glissant's Poetics of Relation (1990). The notion of "the center" is exploded in favor of fugitive research into the relational. The result here is a live mix of cross-genre blood musics, given to that most freely proliferating, streamable, downloadable, capitalist communication of consumer taste: the DJ mixtape. Pomery's use of text and voice in Blood Music continues his investigation of text-sound compositions of the '60s and '70s. His "infinity poems", which are algorithmically produced for print as well as for his A/V show "SPEED READING WITH BLOOD MUSIC", provide the visual art and language for his relational poetics. Blood Music has played Berlin Atonal (Germany), Elevate (Austria) Les Urbaines (Switzerland), Ochiai Soup (Tokyo), Club Stomp (Osaka), La Cheetah (Scotland), UH Fest (Hungary), Les Atelier Claus (Belgium), Incubate (Holland), a water tank in Lewisham and at Cafe Oto in London, where Pomery curates PRAXIS (2016-), a series of events devoted to text-sound compositions.
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WHO 011CD
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Armin Lorenz Gerold is a sound artist based in Berlin. His work mostly focuses on links between sound, voice, and intimacy. He works in different mediums -- sound installations, audio plays, and live performances. Since 2017, Gerold has collaborated with Irish filmmaker Doireann O'Malley, composing soundtracks for her Prototypes film series which won the Berlin Art Prize. "It is early September and dozens of days since we last saw each other. Our communication has been a hit and miss operation ever since. Last week you left me hanging at Krumme Lanke, texting back from Kantstrasse." Produced in November 2017 for KW Institute for Contemporary Art's Compound series, Armin Lorenz Gerold's Scaffold Eyes is a 45-minute audio play, first presented as a multi-channel installation and a live reading performance. It is narrated by Gerold alongside London-based art and architecture historian Miriam Stoney and Berlin-based artist and filmmaker Doireann O'Malley. "It is a Tuesday evening in late August. She wanders through various streets linked to a canal that divides the district in two halves. Her thoughts are diffuse and further interrupted by looking at her phone relentlessly." Scaffold Eyes traces the paths of four characters as they wander through the urban landscape of Berlin. You listen in to their meandering thoughts. The lines they walk are never straight, their narrated memories and observations oscillating between the diffuse and the precise. Berlin's cityscape echoes their psychological space, its dimensions distorted. The city's sounds blend into each other. Scaffold is everywhere. In juxtaposing the constant reshaping of this metropole with the transient lives of his characters, Gerold places you into a world seemingly in flux. "It is early September. I enter Kreuzberg 61's town hall through the main entrance passing by a porters' lodge a man is barely visible behind glass. Gently lit from the side by a small table lamp, half his shape disappears... " The compositions seem algorithmic, yet mood-driven and fluid. Gerold combines spoken word with a collage of field recordings, ambient compositions and song sketches. For example, the faux-jazz of "Love Theme of Scaffold Eyes" suggests a film noir theme while resonating with a characters' depiction of construction sites by night. As you follow a character into an uninhabited highway construction site, we listen to his voice shifting gradually into vocoder, glancing at the autobahn superstructures around us, cars streaming by.
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WHO 009CD
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Philip Corner (b. 1933) is an American composer, musician and visual artist. A founder member of Fluxus, his teachers include Henry Cowell and Olivier Messiaen, and he has performed with George Maciunas, Yoko Ono and Nam June Paik. While on military duty in Korea in 1960-1961 he studied calligraphy with Ki-sung Kim and many of his works have calligraphic scores. His wide-ranging output includes works for gongs, bells, metal percussion and gamelan orchestra. Philip Corner writes, "Hiah Park - new age shaman, then living in California. My Korea connection interest led me to a workshop she gave in New York; more sessions continued until the opportunity of really working together at the proposed seminar 'Art and the Invisible Reality' to be held in Bavaria. I revisited my old practice of 'metal meditations' specially reinterpreted to go with performance/dance derived from traditional shamanic practices. Then done in Trento in front of the cathedral where we joked about when they burned witches. After the two performances in Europe our association came to an end. Sin Cha Hong, a great friend in New York and a fabulous dancer and choreographer with a truly profound and intense body-incorporated physicality serving a spiritual content in no need of official status. Her Korean-American company she called Laughing Stone; she used my anklung (Javanese bamboo rattles) quartet gamelan Adagio onstage for one of her solos... This recording I made alone in the New York loft with my 'familiar' - the large Paiste tam-tam: while holding her in my mind. The dancer/shamans are, as their names show, from Korea - the country par excellence for this ancient form of religion incarnate. I have had a long a long continuing and most appreciative relationship to that country's culture, from 1960 when shipped as a trombones-man to the American occupying forces there and turned on each afternoon listening to 'National (Kuk Ahk) Music Hour' their theme song 'Su Je Chun' - the most ancient piece from the court repertoire which I have never stopped hearing as the most beautiful music ever made. That, and the breakthrough composition 'Sang-Teh/Situations' which written and performed in Seoul in 1961, made this meeting and working with a genuine Korean shaman a spectacular amplification of my rapport. It was the beginning of the years-long improvisation-meditation practice shared with many other dancers, including most notably Phoebe Neville, soon to become my wife, and still is."
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7"
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WHO 007EP
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Dale Cornish and Phil Julian provide three tracks from which emerged from a rehearsal session in South Croydon. "Laughing Out" is the duo's sing-along summer anthem and shares some DNA with "Love Can't Turn Around" as re-imagined by a balding chap with a distrust of the dancefloor. "For Vocal" appears to be a recording of people moving pallets of ride cymbals wrapped in tin-foil around a warehouse but it's hard to say, really. "Palazzo" = a computer minding its own academic business + some curmudgeonly American test equipment + some honeypot crooning = not a dry seat in the house.
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WHO 008EP
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Industrial space rock recorded in Beckenham one weekend in the winter of 1981. Paul H Williams: "Making my own cut-ups and finding meaning in the collision of medical and science texts with newspapers and magazines. There were four tracks on the Tascam Portastudio to play with and - after tweaking a Korg synth, re-wiring my mate's electric guitar with multiple versions of the same string and discovering the joy of turning the cassette over so you could record in reverse - I'd produced four chunks of sound."
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2X7"
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WHO 001EP
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Guitars/music by Dylan Carlson. Original writings vocalized by Rosie Knight, a young spoken-word poet and activist from Hackney. Recorded by Stuart Hallerman at Avast! in Seattle, June 2012. Vinyl cut by Jason Goz at Transition Mastering Studios, London, July 2012. This is the second release in the ongoing drcarlsonalbion project, begun by Dylan Carlson of Earth. It reflects his longstanding interest in the occult folklore and history of the United Kingdom and his abiding love for all things British. The second disc features instrumental tracks.
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WHO 003CD
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Leslie Winer &c. brings together tracks from the first two decades of Leslie Winer's extensive yet little-known body of work. The earliest pieces, recorded in the late '80s, appeared on her debut solo album Witch (Transglobal/Rhythm King, 1993). First issued as a white label pressing in 1990 and featuring Jah Wobble, Karl Bonnie, and Helen Terry, the album earned Winer the distinction "grandmother of trip-hop." After the official release of Witch in 1993, Winer all but disappeared from public view, making only sporadic guest appearances on releases by such varied artists as John Hassell (1994), Bomb The Bass (1995), and Mekon (2000). While she has continued to record throughout the '90s and '00s, little of Winer's work has surfaced, until now. Some of the material from the two albums she cut in the mid-1990s with Joe Galdo at South Beach Studios in Miami appeared in 2010 on The Tapeworm's release & That Dead Horse. Other tracks from these projects and her collaborations with Vincent Gallo appear here for the first time. Throughout her career, Winer has worked with artists as divergent as Holger Hiller, Carl Michael von Hausswolff, and Dale Cornish and her songs have been recorded by Sinéad O'Connor, Boy George, and Grace Jones. Her most recent collaboration with French musician and producer Christophe Van Huffel, Purity Supreme, resulted in a four-track vinyl EP Always Already, released by Ash International. Leslie Winer &c. is a product of The Wormhole. Housed in a 9"x6" PVC sleeve with poster.
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WHO 002LP
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Introducing The Swifter, a new trio featuring Andrea Belfi (drums and percussion), BJNilsen (electronics) and Simon James Phillips (piano). Their debut album documents the first encounter of the three musicians. Recorded live in the Grunewald Church, Berlin, careful attention was given to capturing the unique resonant acoustics offered by the airy, stone building, exhibiting the broad palate of aesthetic qualities the group is able to create. Subtly evolving sound worlds that evoke, at times, the loneliness within a ship's hold; a relentlessly driven wall of harmonically-rich sound or a sonic fog that lifts to reveal a delicate instrumental discourse. Nilsen sources material from the soundboard of the giant Bösendorfer Imperial concert grand played by Phillips. This set-up facilitates a oneness of sound that Nilsen subtly manipulates to either augment or contrast against the unique sonic world of Phillips' playing, which is carefully punctuated or driven by Belfi's distinctive style. The album's cover features double-exposure photography shot by Chris Bigg (David Sylvian/4AD). Available as a limited edition vinyl LP on The Wormhole, a byproduct of The Tapeworm.
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